Time

It's remarkable how much director Garrett Bradley and her editors achieved with so little. Working on a micro budget and a mix of her footage and old video tapes, Bradley chose to unify it all in elegant black and white, while focusing on what truly matters: the story. And what a story it is-a deeply human tale of circumstances, choices, and consequences that stretch far beyond what most of us can imagine.

Anchored by a powerful woman at its center, Fox Rich, the film catches you and never lets go. If you care about people, you will care about this family. Time is a scathing indictment of our racist economic and penitentiary systems. We can-and must-do better.

Greetings again from the darkness. "Our prison system is nothing more than slavery, and I'm an abolitionist." So states Fox Rich, a successful business woman, and the mother of six boys. Director Garrett Bradley brings us the story of this woman who devoted 20 years to the mission of getting her husband's prison sentence reduced. It was 1997, and the desperate Shreveport couple were arrested for armed bank robbery. Fox took the plea bargain, while husband Rob did not.

Fox served less than 3 years for her involvement in the robbery, while a Louisiana judge sentenced Rob to 60 years (the maximum sentence was 99), with no allowance for parole. Fox was pregnant with twins when Rob was sentenced. She named the twins Freedom and Justus. Director Bradley expertly weaves clips from the home videos Fox recorded for Rob with 'in the moment' discussions and observations of her attempts to get someone in the system to hear the case.

What we witness over the course of the film is a proud, strong, fierce woman who, as a single mother, raises 6 kids while she works - at her job and to get Rob released. Twice per month visits is all that she's allowed with Rob, which leads one of the sons to comment that hiding behind the strong family image is a lot of pain. Fox discusses how her mother taught her to believe in the American Dream, but desperate people do desperate things ... although we never get an explanation of just why Fox and Rob were so desperate to rob a bank. Fox's mother states, "Right don't come to you doing wrong", and then she turns around and compared incarceration to slavery.

There are some mixed messages delivered here, which is understandable given how complicated life can get. Perhaps the most vivid message is the impact incarceration has on a family. Fox is an extraordinary woman devoted to raising her sons as strong and smart young men. But she also decries that her boys have never had a father and don't even know the role one plays. While Fox displays the ultimate in polite phone decorum despite her frustrations with an uncaring, inefficient system, we do see her sincerity as she stands in front of her church congregation asking for forgiveness of her poor choices.

The film was highly acclaimed and talked about at Sundance 2020, and that's likely because it strikes hard at family emotions and societal issues. A prime example is the phone call between Fox and Rob just prior to his re-sentencing hearing. From a filmmaking perspective, the black and white images are terrific, and as previously stated, the home movies and "live" filming are expertly blended. On the downside, the sound mix is horrible at the beginning, and the music (beautiful piano playing) often overpowers the dialogue throughout. It's a film meant to create discussion amongst viewers, and it's sure to do so.

This documentary is missing something. To me it seems empty. Had it not been for all of the recorded footage by Fox then there would have been no substance at all. I can agree that her husband was given too much time for the crime but....The documentary itself isn't deserving of the high rating others have given it.

"It's almost like slavery time, like the white man keep you there until he figures it's time for you to get out." Robert Richardson's mother.

It's not what you would expect, this personal documentary narrated by Sibil Fox Richardson about the 21 years she waited for her husband, Robert, to be released from prison for a robbery he committed with her in 1997 in Shreveport, La. It is a quiet essay with almost professional grade home video for Sibil as she narrates the patient struggle to get her husband's sentence reduced from 65 years.

Although such a draconian sentence begs for the sobriquet of "Black racism," the doc, deftly directed by Garrett Bradley, makes few allusions to that societal challenge. It is rather, as its title succinctly suggests, a treatise on the passage of time with its attendant sorrows and its equally powerful hope: "God looks over the sparrows, Sibil. He's going to look over us," says Robert.

Sibil took a plea bargain of twelve years in order to attend to what would be six children, as handsome and articulate as their mom and dad. No weeping and gnashing, just melancholy longing to take time back to when the family had so much promise. Smartly, Bradley shows videos in the final shots of the family in reverse as if time could be altered but never would be.

He also makes the right decision to leave the doc in black and white in order to blend the past with the present. Unlike other documentaries about carceral injustice, Time does not demand we accept Robert as victim-it accepts his mistake and subtly suggests only that the sentence was excessive.

By showing the talented Sibil doggedly working for reform (she could have been a preacher) and her exemplary family soldiering on without dad is the best argument for careful, unbiased sentencing in a system that fails to account for incarceration's effect on everyone, the convict's family and us. Law and order sometimes forget the human factor.

"But at my back I always hear/ Time's winged chariot hurrying near." Andrew Marvel

As far as documentaries go, this one is incredibly sparse and shallow. There's not a lot of factual information or real details in it, but there's a lot of cinematic moments that are clearly meant to pull on your heartstrings. I really hoped that instead of building up to emotional moments with their black and white mind blowing cinematography that they had focused on actually telling a better story. It's really not Oscar worthy material, no chance. It's as slow moving as molasses in January and a lot of repetitive close up shots that look like someone shot them on an iPhone pointed at themselves, a lot of insipid moments of waiting on hold or working out at the gym, and really, really boring scenes where almost nothing happens. Let's please raise the bar a little bit.